The Metaphysical Quality that gives a Visual Identity Mark its Sway.

2021 ◽  
Vol 2021 ii (15) ◽  
pp. 1-34
Author(s):  
Jacqueline Hill
Keyword(s):  
Visual Communication ◽  
Specific Aspect ◽  
Individual Identity ◽  
Symbolic Language ◽  
Cultural Symbol ◽  
Visual Identity ◽  
Elemental Nature ◽  
Mental Constructs ◽  
Individual Interpretation ◽  
Contemporary Context

Addressing a specific aspect of visual communication, the focus of this paper is to examine the connection between elemental nature-inspired archetypal symbols and contemporary Visual Identity Marks, for example the archetypal Solar Cross to the BP VIM, Helios, by establishing the existence of a contextual relevance and relationship. It furthermore analyses the fundamental influence of these archetypal symbols upon the viewer/user (internal and external audiences), no matter what level of sophistication the viewer’s/user’s society has achieved. To build an appreciation of the continuity and effectiveness of the use of elemental nature-inspired archetypal symbols within a contemporary context, areas of expertise not traditionally utilised within visual communication, such as sociology, archaeology, theology and folklore were engaged. While being defined as “a recurrent symbol or motif in literature, art or mythology” (Random House Dictionary, 2012), an archetypal symbol also possesses a metaphysical quality. This metaphysical quality enables the symbol to act as a galvanising and motivating force, which re-enforces individual and group identity, and ultimately transmit a sense of the sacred and the institutional within a mutable world. The archetypal (natural) symbol is the response of the psyche reflecting the ‘internal truth’. The VIM (cultural) symbol is a vehicle to maintain power for financial or political profits as well as sustain group coherency, and individual identity. Encoded within both a ‘natural’, and a ‘cultural’ symbol, is a deep spiritual quality tapping into a deeper symbolic language which evolved from humanity relating back to nature. Drawing upon notions of individual interpretation, the paper analyses the very idea of personal and/or subjective mental constructs related to visual identity marks.

Visuality in Corporate Communication

2020 ◽  
pp. 37-59
Author(s):  
Özen Okat ◽  
Bahadır Burak Solak
Keyword(s):  
Visual Communication ◽  
Corporate Communication ◽  
Target Audience ◽  
Brand Awareness ◽  
Visual World ◽  
Visual Narratives ◽  
Visual Identity

One of the most important areas where visual communication is prominent today is marketing. Brands try to adopt to the visual world of today in order to make their communication with their target audience more meaningful and effective. This way, organizations, and therefore brands, take significant steps for differentiation from their competitors by forming their visual identity. Additionally, considering the current advertisements of brands, it is seen that visual narratives are highly abundant. In this context, brands which are starting to use visual communication effectively are gaining a broader place in the memories of their target audience by increasing brand awareness. As a result, it is believed that the significance of visual communication and identity is increasingly higher in terms of influencing existing and potential masses by being integrated into the visual world of today.

scholarly journals Recognition of the Printing of the Photo of the Flower to Design the Identity of Iranian Dishes with a Visual Communication Approach

2021 ◽  
Vol 04 (04) ◽  
Author(s):  
Parisa Saadati Shiadeh ◽  
Keyword(s):  
Visual Communication ◽  
Field Studies ◽  
Theoretical Research ◽  
Data Collection Tool ◽  
Visual Identity ◽  
Central Hypothesis ◽  
Wide Range ◽  
Communication Approach ◽  
Photography Method ◽  
Work Method

Design in the field of photography printing on porcelain includes a wide range of methods of different methods. One of the main reasons for welcoming a wide range of audiences from these dishes is the visual appeal of various floral motifs. This research's central question is how can Iranian identity be created by using the principles of designing and printing floral photoreversal motifs on ceramic containers? Understanding the nature of decal printing, floral motifs, Iranian dishes' identity, and visual communication of these motifs on containers are among the main variables of this study. This research aims to understand the principles of designing and printing flower motifs of ceramic containers to create an Iranian visual identity. The research's central hypothesis is that by designing and printing floral pictorial motifs on ceramic containers, Iranian visual identity can be made. Such motifs are easily applicable by the photography method. In this research, using library and field studies, the presented designs are examined, documentary work method, and visual data collection tool. The approach of this study is analytical-descriptive. The results show that the identity of flower motifs of ceramic containers is less of an Iranian nature and has a non-Iranian identity. It is not by traditional and artistic motifs of Iran. Based on the theoretical research results, the practical project has been designed and implemented in designing floral motifs for different containers such as plates, teapots, and horseshoes that create an identity closer to the samples on the market than other companies.

scholarly journals Peranan Komunikasi Visual bagi Identitas Perusahaan

Humaniora ◽  
2013 ◽  
Vol 4 (1) ◽  
pp. 528
Author(s):  
Laura Christina Luzar ◽  
Monica Monica
Keyword(s):  
Visual Communication ◽  
Corporate Identity ◽  
Prominent Feature ◽  
The Public ◽  
Identity Information ◽  
Visual Identity ◽  
A Company

In the current era of globalization, along with expanding the market, many companies are competing to attract the attention of consumers to buy their products. One way to compete and survive in this growing market is by creating an image and visual identity. Strong characters could position the image of a company, visual identity is so necessary in showing the image which wants to be introduced to the public. The vigorous competition between firms creates visual identity, become a prominent feature of each companies. Therefore, it is needed a visual communication designer who can create and develop the concept of corporate identity systems. Visual communication designer also have responsibility to create identity into a system that does not sell directly, but provides identity, information, persuasive and ultimately serves as an effective marketing media. 

scholarly journals DESIGN BRANDING AND IMPLEMENTATION OF VISUAL IDENTITY FOR “KEDAI OMAH JLAMPRANG” PEKALONGAN - CENTRAL JAVA

ICCD ◽  
2019 ◽  
Vol 2 (1) ◽  
pp. 440-445
Author(s):  
Noor Udin ◽  
Arif Priyono ◽  
Tunjung Riyadi
Keyword(s):  
Interior Design ◽  
Visual Communication ◽  
Hotel Management ◽  
Economic Independence ◽  
Youth Group ◽  
Visual Communication Design ◽  
Communication Design ◽  
Central Java ◽  
Training Materials ◽  
Visual Identity

Empowering the community is one of a series of activities that must be carried out by a lecturer at Binus University. This empowerment program has been implemented in various cities and regions in Indonesia, including in the Krapyak, Pekalongan City. This program involves lecturers from various programs at Binus University, such as from the Architecture department, interior design department, hotel management department, tourism department, management department, marketing communication department and also visual communication design department. There are a variety of training materials designed to develop the mindset and economic independence activities of the PKK and Karang Taruna groups in the Krapyak area, Pekalongan City. Empowerment is summarized in the establishment of Kedai Omah Jlamprang, an integrated shop offering culinary specialties of Pekalongan City, batik and various Pekalongan City handicraft products, providing a place to gather in developing the creative ideas of the community, and various activities that support the creation of Krapayak people's economic independence, so as to be able to advance this area in an integrated manner. Support by the department of visual communication design provided in the form of training in recognizing and implementing branding programs for Kedai Omah Jlamprang so that it has a strong visual identity. Aimed at the store manager consisting of the PKK group and Karang Taruna youth group, Krapyak, Pekalongan City.

scholarly journals Bedah Logo Autocillin Menggunakan Teori Semiotika

Humaniora ◽  
2010 ◽  
Vol 1 (2) ◽  
pp. 478
Author(s):  
Sari Wulandari
Keyword(s):  
Visual Communication ◽  
Research Method ◽  
Brand Image ◽  
Visual Media ◽  
Roland Barthes ◽  
Theory Approach ◽  
Semiotic Analysis ◽  
Visual Identity ◽  
People’S Perception ◽  
Semiotic Theory

When a brand will communicate with people through visual media, then a visual communication designer will act as the sender in meaningful visual. A vehicle product assurance, Autocillin, will launch its brand; therefore it needs to presence visual identity of Autocillin, which is able to change people’s perception about assurance and also to represent brand image according to its ideals and hopes with its philosophy. Research method uses theory approach of semiotic theory from Peirce with its developing on icon, index and symbol. It also uses semiotic theory from Charles Morris of its semiotic processes: syntax, semantic, and pragmatic; and Roland Barthes approach of semiotic analysis towards design. It will be concluded that through visual identity, Autocillin could answer needs in communicating unprecedented experience of its consumers and change people’s perception of vehicle assurance. Through sign approach, Autocillin is ready to interact and compete with other brands. 

scholarly journals INTERPRETASI KALOSARA DALAM RUMAH ADAT TOLAKI

NALARs ◽  
2018 ◽  
Vol 17 (2) ◽  
pp. 145
Author(s):  
Sachrul Ramadan
Keyword(s):  
Social Life ◽  
Space Form ◽  
Spatial Arrangement ◽  
Symbolic Language ◽  
Cultural Form ◽  
Cultural Symbol ◽  
Cultural Organization ◽  
The Core ◽  
The Social ◽  
Cultural Element

ABSTRAK. Etnis Tolaki, adalah salah satu dari tiga kelompok etnis utama di Sulawesi Tenggara yang memiliki gaya dan bentuk budaya yang spesifik. Bentuk budaya yang spesifik diwujudkan dalam obyek yang menjadi simbol budaya disebut Kalo Sara. Kalo Sara terdiri dari tiga elemen benda atau bahan, yaitu Rotan, Kain Putih dan Lingkaran (terbuat dari Rotan) ketiga komponen bahan dan benda tersebut merupakan bahasa simbolis yang melambangkan semua aspek kehidupan sosial masyarakat Tolaki. Penelitian ini akan mengeksplorasi nilai ruang dan bentuk rumah adat Tolaki dalam kaitannya dengan Kalo Sara sebagai unsur tertinggi dalam Tatanan Budaya Tolaki. Subyek yang akan diteliti adalah penafsiran Kalo Sara sebagai unsur budaya tertinggi dalam esensi budaya terhadap komposisi ruang, bentuk dan makna dalam rumah tradisional Tolaki. Hasil penelitian menemukan bahwa Kalo Sara sebagai simbol budaya di komunitas Tolaki sangat erat dan melekat dalam konfigurasi ruang rumah tradisional Tolaki. Inti dari ruang yang mendefinisikan sifat Kalo Sara dari seluruh pengaturan ruang disebut istilah Siwolembatohu.Kata Kunci: Rumah Tolaki, Siwolembatohu, Kalo Sara ABSTRACT. Ethnic Tolaki, is one of the three main ethnic groups in southeast Sulawesi that have a specific cultural style and form. A particular cultural form is manifested in an object that becomes a cultural symbol called Kalo Sara. If Sara is made up of three elements of matter or material, namely Rattan, White cloth and Circle (made of Rattan) the three components of the material and the object is a symbolic language symbolizing all aspects of the social life of the Tolaki community. This research will explore the value of space and customs house form Tolaki concerning Kalo Sara as the highest element in the Tolaki Cultural Organization. The subjects to be studied are the interpretation of Kalo Sara as the most top cultural element in the essence of culture to the composition of space, form, and meaning in Tolaki traditional house. The results of the study found that Kalo Sara as a cultural symbol in the Tolaki community is intimately tied to the traditional Tolaki house space configuration. The core of the space that defines the Kalo Sara nature of the whole spatial arrangement is called the Siwolembatohu term.Keywords: Rumah Tolaki, Siwolembatohu, Kalo Sara.  

Airline service quality and visual communication

2019 ◽  
Vol 32 (1) ◽  
pp. 183-200
Author(s):  
Dalia Suham-Abid ◽  
Natalia Vila-Lopez
Keyword(s):  
Service Quality ◽  
Cultural Context ◽  
Visual Communication ◽  
Cultural Influences ◽  
Communication Styles ◽  
Content Type ◽  
Quality Perceptions ◽  
Visual Identity ◽  
Domestic Company ◽  
Local Company

Purpose The purpose of this paper is to analyze differences in airlines service quality perceptions (service content) and visual communication styles (service form) between passengers from a high-context (HC) culture (Iraq) and from a low-context (LC) one (Germany). The theoretical support is based on Hall’s (1976) theory about cultural influences on consumers’ perceptions and on ethnocentric influences. Design/methodology/approach In this study, the authors compared two groups of passengers from two countries ‒ Iraq (a high-context culture) and Germany (low-context culture) – that gave their opinions about two different airlines (Iraqi Airlines and Lufthansa). In total, 400 personal evaluations were obtained (100 for each company in each country). Findings The results have demonstrated that, first, regarding service quality perceptions, both groups of passengers differ, not due to the cultural context, but due to the ethnocentristic feeling, that is service quality values are higher when the domestic company is evaluated in both countries. Second, regarding visual identity perceptions, the cultural context explains perception differences, because the Germans evaluations are higher for both, the foreign company and the domestic one. Originality/value First, the authors have measured in the same study whether people from an LC culture differ from people from a HC culture with respect to how they perceive both the content of the service (the perception of service quality) and the form of the service (the perception of visual identity). In other words, the authors have compared not just the way a company delivers its services, but also how the company is visually presented. Second, the authors have studied a country that has seldom been analyzed from a marketing perspective, Iraq. Third, the authors have compared not just two cultures, but also two companies (a domestic one and a foreign one), in order to see if consumers tend to have more positive perceptions of a local company, regardless of the culture to which they belong. If this point is demonstrated, then some more implications related to ethnocentrism will be added for a better understanding of how to proceed in the international arena.

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